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Literary theory is a vast field that has witnessed the evolution of various interpretive approaches, each contributing to our understanding of literature. This essay delves into the realms of Formalism, New Criticism, Structuralism, and Poststructuralism, tracing their historical development and examining their profound impact on the study of literary works.
Formalism, as the name implies, is an interpretive approach that places a significant emphasis on literary form and the meticulous study of literary devices within a text.
Originating from the work of Russian Formalists such as Roman Jakobson and Viktor Shklovsky, Formalism sought to establish a scientific foundation for the study of literature through objective analysis of motifs, devices, techniques, and other "functions" that constitute the literary work.
The Formalists accorded great importance to the literariness of texts, focusing on qualities that distinguished literary works from other forms of writing. Notably, neither the author nor the historical context was deemed essential for the Formalists; what spoke was the narrative itself.
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Concepts like the "hero-function" were explored for their meaning, with form considered as content. Plot devices and narrative strategies were scrutinized for their functions and compared to their counterparts in other literary works.
One of the prominent Russian Formalist critics, Viktor Shklovsky, introduced the concept of "defamiliarization." Shklovsky argued that the routine of ordinary experience rendered invisible the uniqueness and particularity of everyday objects. Literary language, by drawing attention to itself as language, had the power to estrange the reader from the familiar, offering a fresh perspective on the experience of daily life.
The New Criticism, emerging in the American university setting of the 1930s and 40s, aimed to bring intellectual rigor to literary studies.
Advocates such as Cleanth Brooks, John Crowe Ransom, Robert Penn Warren, and W.K. Wimsatt stressed the importance of close reading of the text itself, independent of historical context. T.S. Eliot, though not explicitly associated with the movement, shared a similar critical-aesthetic philosophy in his essays on John Donne and the metaphysical poets.
New Criticism focused on the careful scrutiny of the text's formal structures, including paradox, ambiguity, irony, and metaphor. The movement believed that such readings would humanize readers and counteract the alienating effects of modern industrial life. This intellectual approach found an affinity with the Southern Agrarian movement, and its enduring legacy can be observed in today's college classrooms, where the verbal texture of poems remains a primary object of study.
Structuralism, viewed as an extension of Formalism, aimed to introduce objective criteria for literary analysis and intellectual rigor. Rooted in the ideas of Swiss linguist Ferdinand de Saussure, Structuralism considered language as a system of differences between signifiers (words, marks, symbols) and the signified (the concept to which they refer).
Particular meanings were considered of less interest than the underlying structures of signification that made meaning itself possible. Roman Jakobson's contributions furthered Structuralist thought, and prominent Structuralists included Claude Levi-Strauss, Tzvetan Todorov, A.J. Greimas, Gerard Genette, and Roland Barthes.
Roland Barthes, a key figure in bridging the transition from Structuralism to Poststructuralism, played a crucial role in shaping the trajectory of literary theory. Barthes and other Structuralists aimed to create a metalanguage—a language about languages—to decode systems of signification within literary works.
Poststructuralism, less unified than its precursor, questions the coherence of discourse and the capacity of language to communicate. Deconstruction, a major component of Poststructuralism, asserts that language's loss of reference causes an endless deferral of meaning—a system of differences between units of language that has no final signifier.
Jacques Derrida, a key Deconstruction theorist, famously stated, "There is no getting outside text," emphasizing the endless play of signification. Lacanian psychoanalysis, influenced by Jacques Lacan and Julia Kristeva, extends Poststructuralism to the human subject. According to Lacan, the self is a decentered mass of traces left by encounters with signs, symbols, and language.
Michel Foucault, another influential philosopher in Poststructuralism, emphasized that knowledge is discourse itself, constructed in concrete historical situations. Foucault's investigations of discourse and power paved the way for a new way of looking at history and textual studies known as the "New Historicism."
Poststructuralism in America, associated with the Yale School of Deconstruction, includes figures like J. Hillis Miller, Geoffrey Hartmann, and Paul de Man. Reader response theories, Semiotic theory, and Gender theory also fall under the umbrella of Poststructuralism, challenging fixed meanings and questioning the nature of language and communication.
In conclusion, the exploration of Formalism, New Criticism, Structuralism, and Poststructuralism reveals the rich tapestry of literary theory. Each approach brings a unique perspective to the study of literature, emphasizing form, close textual analysis, structural frameworks, and the challenges of language and meaning. As scholars continue to navigate these theoretical landscapes, literary theory remains a dynamic field, enriching our understanding of the intricate interplay between language, text, and human experience.
Exploring Literary Theories: From Formalism to Poststructuralism. (2016, Nov 26). Retrieved from https://studymoose.com/formalism-and-new-criticism-essay
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